Best 357 quotes in «narrative quotes» category

Freud, one of the grand masters of narrative, knew that the past is not fixed in the way that linear time suggests. We can return. We can pick up what we dropped. We can mend what others broke. We can talk with the dead.

God is not interested in what you think you should be or feel. He is not interested in the narrative you have construct for yourself, or that others have construct for you. He may even use suffering to deconstruct that narrative.

Going slowly [...] was the best way of being reminded that there is a relationship between Here and There, and that travel narrative was the story of There and Back.

George Orwells 1984 frequently tops surveys of our greatest books: its not a celebration of poetic language. Its decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what 1984 shows is that language can be a dirty trick.

Genre might certainly increase some of your narrative freedoms, but it also diminishes others. That's the nature of genre.

History is a set of skills rather than a narrative.

I am simply not interested, at this point, in creating narrative scenes between characters.

History is the narrative of people searching for a place to go.

I, as a person, make anything a narrative experience because I experience things linearly. The biggest question for me, is will I go through a transformation? Will I be bored or not? Is it a good or bad narrative experience?

I am the daughter of Mr. Neo-realism: I should gravitate towards narrative simply told, character, the truth. And I do love those movies.

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.

I don't know if it's something that we as a species are hardwired for or if it's more of a contemporary phenomenon related to technology and rapid dissemination of data. I did know that whatever its cause or nature, I wanted to interrogate this phenomenon. But the only way for me to do that, the only tool I have to dissect it with, is a fictional narrative.

I am a taxonomist, I work in the descriptive, narrative sciences of natural history. Unfortunately there is this status ordering from physics, the queen of the sciences up on top, down through a bunch of squishy subjects, ending up with sociology and psychology on the bottom. Palaeontologists are not much above that in their conventional ordering.

I do myself think that history is a set of skills rather than a narrative.

I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!

I do use art as a site of protest, particularly in relation to dominant narratives.

I don't want my readers slowed down by long passages of narrative.

I don't teach narrative theory by itself anymore, but I kind of use it when critiquing student manuscripts. So, it works its way in there, whether I like it or not.

If a few nations step forward and begin changing the narrative of 'us and them' to 'everyone,' we will see a new dawn. If a few nations begin actually making operational a verification system we can all depend upon and push to bring all into such a system, we will all benefit.

I fell in love with poetry through storytelling, so my poetry tends to be fairly narrative. I like characters, I like having a beginning, middle, and ending, though not necessarily in that order.

If something produces an undue amount of pleasure or undue amount of displeasure, it's going to be judged differently and it's going to be introduced in your narrative with a different size, with a different development. So that is the next element to superimpose on the sequencing element. And in fact, that element is so powerful that very often it can trump the sequencing event, that the sequencing aspect.

If one writes the rules then one can contradict oneself. It's all about rhetoric, about official narratives.

If you can work a brand successfully into the narrative of your product, then it's really cool. Then people actually take the brand up and say, 'My positive experience in your product is directly connected and influenced by this brand and that worked great.

If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.

If so much of your experience is devoted to the thought of documentation, you're already sort of spinning out this narrative from this moment that you are attempting to control instead of just experiencing it.

If you read many contemporary literary novels today, you may notice that regardless of the subject matter there's a 'sameness' about them, the way in which thoughts are expressed and ideas, conveyed, the sometimes dogmatic application of what are, at best, useful maxims such as, 'less is more', the narrative techniques utilised, even the same, irritating, stylistic devices scattered like pepper all over the pages.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

If you do weave one-liners into a story, you have to have an overall story as well, otherwise it doesn't really count as narrative.

I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

Ignore the trade-pub narratives about how little success indies enjoy.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

If you just read the book, you're taking in the narrative, you're taking in the characters, you're understanding it in a certain way. If you make a movie it's really an act of translation.

I learned there's an amazing unexplored territory in terms of narrative. Before, I thought the unexplored territory was the form, the way you shoot a movie. Now, I'm learning about the beautiful marriage between form and narrative.

I like a narrative, even if it's fractured, or kind of psychedelic. But my favorite thing is if I hear words and I close my eyes and the connotations or the image I get in my head, combine with the sound of them - sometimes phonetics. I'm just stringing those together.

I have this natural thing in my head that when I sit down to write something serious, I tend to make jokes. I can't help it. I can't help but desire for the narrative to be as complicated and as truthful as possible. That's just the way my head works.

I like narrative storytelling as being part of a tradition, a folk tradition.

I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.

I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.

I just don't see myself as the heroine in my own narrative.

I love the Russian absurdists - [Nikolai] Gogol,[Daniil] Kharms, and [Vladimir] Bulgakov. Even within the Russian experimentalists, there's a lineage of traditional narrative, conflict, and character development, which I find vital to my storytelling.

I'm a little bit too obsessed with the news. I find the news easier to follow than narrative entertainment programs.

I'm fascinated by the narrative of geology, and I'm a veritable pack rat of a collector on the road. I keep a rock hammer in my car.

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.

I'm interested in the possibility of fiction which straddles narrative and essay.

I'm Godless. I've had to make my God, and my God is narrative filmmaking

I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.

I'm one of those apocalyptics. From the start of my immigrant days, I've been fascinated by end-of-the-world stories, by outbreak narratives, and always wanted to set a world-ender on Hispaniola.

I'm quite interested in the absolute roots of narrative, why we tell stories at all: where the monsters come from.